Angel Eyes
Writers: Gerald DiPego
ANGEL EYES
by
Gerald DiPego
October 1999
Seventh Draft/Polish
FOR EDUCATIONAL
PURPOSES ONLY
FADE IN:
EXT. CITY STREETS (LOS ANGELES) - NIGHT
CREDIT SEQUENCE.
As OPENING CREDITS play, we study the city's nighttime
pulse, ribbons of headlights moving and cross-connecting
like blood through the veins of a body --
impressionistic, even beautiful, but what we're hearing
is soulful trumpet-based MUSIC, mellow and haunting, the
modern classic -- JAZZ sound of a Wynton Marsalis,
putting a voice to our story. As CREDITS END, we...
DISSOLVE TO:
POV - EXT. FREEWAY - NIGHT
Now the MUSIC is GONE, SOUNDS are MUFFLED and vision
blurred. We get the impression of urgent movement. We
hear BREATHING. There are VOICES, SHOUTS, even SCREAMS,
but MUFFLED, far away. Only the breathing is distinct.
We come to realize it is our breathing, and we are inside
someone, looking out. The man whose POV this is is on
the edge of consciousness and not far from death. He
lies on the pavement of a freeway at the site of an
accident only minutes after impact.
His VISION goes IN and OUT of clarity. People are
swarming around him and rushing by toward the carnage of
wrecked vehicles. A SIREN BLOOMS in the distance and
approaches haltingly. The man slips away, comes back
toward consciousness, slips again.
The crowd around the downed man parts to allow passage to
a police officer. It is a woman, Officer SHARON POGUE,
LAPD. She kneels at the man's side, taking charge,
speaking, but we hear only SLIVERS of SOUND. He sees her
face clearly now, close above him.
Sharon is a dedicated professional and more. We see down
into her to a place of real caring. She stares into our
eyes and connects. We begin to hear her now -- and there
are more SIRENS converging in b.g.
SHARON
Can you hear me?
(shouting, off)
This one's conscious!
VOICE (O.S.)
Paramedics on the way!
We are slipping away again. Sharon holds us with her
eyes, and she grips our hand.
(CONTINUED)
2.
CONTINUED:
SHARON
Wait. Wait. Listen to me. Can
you feel that?
She holds on tight. We see that our hand, held in her
own, is bloody.
SHARON
That's my hand. Hold it. Go on
-- as hard as you can.
We watch our hand gripping hers, and as we hold on, the
sights and sounds around us grow more clear.
SHARON
It's over, and I've got you, and
you're safe. You're safe now.
You got that? Don't let go.
Don't let me go.
But our eyes unlock from Sharon's and DRIFT TO a patch of
night sky. Her voice fades awawy. Our POV begins TO
LIFT, MOVING TOWARD that sky, as the blue-black night
begins to turn white. We GO INTO that white light and...
DISSOLVE TO:
EXT. LOS ANGELES CITYSCAPE - DAY
We PICK OUT a police car from the traffic and FOLLOW.
The beat being patrolled is a mixed neighborhood with
some very rough edges.
INT. POLICE CAR - DAY
Officer Sharon Pogue is driving the car. It is two years
since we saw her at the accident site. Her partner,
ROBBY LEWIS, sips coffee and keeps one eye on the CAD
monitor which lists all area police calls. She slows
behind a car that is crawling along, an old 60s car,
driven by a young man and woman who sit very close on the
bench seat. The car's ENGINE is MISSING and smoking.
SHARON
That car is older than they are.
ROBBY
'67 Chevy Impala.
SHARON
That's what I said.
(CONTINUED)
3.
CONTINUED:
ROBBY
Needs a servicing.
SHARON
Don't we all.
Robby nearly spits his coffee, laughing at what Sharon
has said and trying not to choke. Sharon smiles, shaking
her head.
SHARON
Get it together, officer.
As Robby smiles, Sharon looks ahead at the young couple
who each have an arm around the other. She is stroking
his neck. He is making gentle circles in her hair.
Sharon watches this, and for a moment her eyes reveal a
depth that may be loneliness, but she quickly pushes her
thoughts away and hits the HORN, startling Robby and
startling the people ahead who now disengage and drive
on.
ROBBY
Jesus, Pogo! Almost spilled my
coffee again! You didn't like his
hair, or what?
SHARON
I love Elvis hair. They were
going two damn miles an hour.
But Robby's eyes have caught something on the monitor.
ROBBY
Let's roll to this -- fight in
progress.
As Robby secures that coffee cup, Sharon hits the SIREN
and speeds around the car in front of them.
EXT. CITY STREET - DAY
At the same time, a few blocks away, an OLD, FRAIL MAN is
carrying two plastic grocery bags that are too heavy for
him.
Walking behind this man is a younger man named CATCH
LAMBERT, an attractive man with some scarring on his
face. His eyes, deep down, are haunted by something, but
there is energy in his step. He is dressed in a relaxed
and stylish manner, not expensive. He begins to pick up
his pace to catch up to the old man.
(CONTINUED)
4.
CONTINUED:
People glance at Catch, nad he glances back in an open
and unflinching way, ready for anything, a smile, a nod,
or -- because these are some of L.A.'s mean streets -- a
threatening or taunting look. These he also meets
openly, without a trace of fear. The man has been
through some kind of fire, and it has left him different
from us. Outside the usual boundaries.
Catch walks beside the Old Man, glancing at him.
Finally, the man glances back, wondering and suspicious,
but Catch has a slight, disarming smile, open and honest.
CATCH
Y'know... since we're both walking
the same way, I could take one of
those bags for you. That way, I
do some upper body work while I'm
walking along. Helps my back.
What d'you say?
The Old Man trudges on, proud and suspicious, too.
CATCH
Right now your mind's making
pictures of me robbing your
groceires, but, y'know, nine times
out of ten, people do the right
thing.
The Old Man glances at him, still not convinced, but he
soon has to stop and rest. Catch stops, too. The old
man looks at him, a bit embarrassed.
OLD MAN
It's the dog food that makes it so
heavy.
Catch nods, puts out his hand. The Old Man hesitates,
then decides and lifts a bag, and Catch takes it.
CATCH
I guess it's worth it... for a
good dog.
Catch isn't kidding. He has that honesty. The Old Man
nods and starts trudging again. As they walk on
together, Catch reaches for that second bag. The man
relents and lets him take it. They continue on, Catch
carrying the bags and every now and then lifting them a
bit for his upper body work.
5.
EXT. VIDEO GAME ROOM - DAY
This is the call Sharon and Robby have sped to. It is a
chaotic scene of cops breaking up a fight between eight
boys, 16-20. A big KID, 18 or so, is being pulled off
another by Sharon and Robby. The Kid is wild and
resisting and Sharon shows her toughness and
professionalism and some anger, too, as she slams him
into a fence -- and Robby holds him while she cuffs the
young man -- who is very mouthy, playing to his friends.
KID
Look at this bitch. Whoo! Benny,
look at this!
Sharon and Robby are both very good at their jobs, taking
this Kid to their car while other cops contain the rest.
A crowd watches -- mostly teens.
KID
(to Sharon)
You come in with me. Hey, bitch.
Some of his bystanders friends howl at that.
KID
You're going to arrest me, you
come into the back seat with me.
Come on!
He resists a bit, but they're getting him into the car.
KID
Come on. We'll have a good time.
INT. POLICE CAR - DAY (FEW MINUTES LATER)
Sharon's on the radio to dispatch as Robby drives and the
Kid keeps mouthing off.
SHARON
(to radio)
Three Adam Five -- show us 1019 to
the jail with one male prisoner.
KID
Take off your uniform. Take off
my handcuffs, bitch, and come back
here. I want one touch.
ROBBY
Give it a rest!
Sharon is stone-faced through this.
(CONTINUED)
6.
CONTINUED:
KID
If you're going to put me away,
you gotta give me one sweet touch.
INT. JAIL BOOKING AREA - DAY
As Robby and Sharon bring their suspect to the booking
counter, each holding one of his cuffed arms. The Kid is
looking at Sharon's hand on his arm.
KID
That ain't the touch. That ain't
the touch I want.
They get him to the counter.
ROBBY
As I remove your cuffs, I want you
to put your hands here. Spread
your legs. More.
As they remove the cuffs, the Kid makes a sudden move
toward Sharon, reaching between her legs -- but she was
not only ready for this, but hoping for it -- and the
stoniness of her face cracks into fierce anger as she
moves quickly and grabs the Kid by the hair, bringing his
face into her upraised knee. He cries out and goes down
on his knees, hurting and bleeding. The jailer rushes
over to help, but Robby grabs the Kid's wrists.
ROBBY
That's it. Back off, John, we got
it.
Robby glances at Sharon -- a dark glance.
EXT. POLICE JAIL PARKING LOT - DAY (LATER)
as Robby and Sharon walk to their car. They are
interrupted by one of their lieutenants, SANDERMAN,
walking their way and stopping to stare at Sharon. She
meets his look.
SANDERMAN
You trying to be a bad-ass, Pogue?
She is straightforward, not rebellious.
SHARON
I just dealt with the situation.
The prisoner...
(CONTINUED)
7.
CONTINUED:
SANDERMAN
And you don't see a pattern here?
(pause)
I want you to keep yourself way
inside the line instead of walking
on it. All right? Are you taking
notes?
He walks away, and Sharon and Robby walk on to their
car -- she is dark; he is glancing at her.
ROBBY
You broke his nose.
SHARON
He grabbed me. End of story.
ROBBY
And you were waiting for him. You
were hoping. You were making
long-range plans for his ass while
he was mouthing off in the car --
and you're supposed to be above
that shit.
SHARON
If you think I crossed the line,
put it in the report.
ROBBY
Pogo, stop the shit. What is it?
You pissed off at me, too?
They enter the car, Sharon behind the wheel.
SHARON
Not you, Rob. You're a rare
unthreatened male cop with a good
marriage, and you like to eat
where I eat -- so everything's
code four.
She STARTS the CAR and starts to back out, and he reaches
over and turns OFF the IGNITION. She stares hotly at
him -- but then, slowly, she softens, takes a deep
breath.
ROBBY
Come over for dinner tonight.
I'll call Charlene. She'd like to
see you. It's been awhile. We'll
talk about it.
(CONTINUED)
8.
CONTINUED:
She STARTS the CAR again, more calm, starts to drive out
of the lot.
SHARON
Thanks. But she'll invite
friends, try and fix me up. She's
always trying to fix me up so she
doesn't have to worry about you
and me.
ROBBY
She doesn't worry about that.
SHARON
They all worry about that.
They both smile wryly, driving on.
SHARON
You don't need to fix me, Robby,
or fix me up. I don't want some
guy to heart and soul me and then
walk away 'cause he can't stand
the cop thing -- or worse: he
wants cop stories every night
'cause it turns him on, and he has
no idea who I am inside my head.
Anyway, I'm busy tonight.
ROBBY
Got some action, huh? Well,
that's promising.
SHARON
Yeah. Hot and heavy.
IMMEDIATE CUT TO:
INT. SHARON'S APARTMENT - NIGHT
She is on the floor using an exercise rig, sliding into
crunches, pushing herself, sweating, alone. We BEGIN
DRIFTING TO the rain-spattered window as night sounds
filter in, HORNS, SOMEONE SHOUTING, a CAR MOVING BY with
THUNDEROUS BASS MUSIC that pulses the very air and
RATTLES the LOOSE GLASS of her window.
EXT. NEIGHBORHOOD STREETS - NIGHT
Catch Lambert is walking the wet streets, head down in
the rain. Far away we hear that car with a BASS-BLASTING
RADIO.
(CONTINUED)
9.
CONTINUED:
In the glow of a street lamp, Catch sees a bright-colored
object in the gutter. He picks it up out of the gurgling
rain water. It is a small toy, a discarded superhero.
He puts it in his pocket, walks on.
Now the car, the prowling, MUSIC-BLASTING, BASS-
THUNDERING CAR turns a corner and begins rollling along
slowly -- beside Catch. He glances over, walking on.
There are four tough-looking MEN in the car, looking for
trouble. The MUSIC is DEAFENING. Catch glances again,
walks on. Their eyes follow him like gun barrels. He
stops and walks out on the street, moving toward the car,
shouting over the music.
CATCH
Hey! You want to turn that volume
down? What's your point?
The men, incredulous, stop the car and snap OFF the MUSIC
in order to make sure they're hearing right. They stare
death at Catch.
DRIVER (MAN)
What did you say?
CATCH
What's the point of blasting your
music through the whole zip code?
Don't you realize there are kids
trying to sleep in these
apartments -- old people, sick
people?
They can hardly believe this.
DRIVER
You better watch your mouth,
asshole.
Catch meets the man's look with his own unflinching,
haunted eyes.
CATCH
Why? What're you gonna do? Kill
me?
Catch's look is not a macho challenge. It's something
else -- beyond that, a man somehow without limits. One
of the riders in the backseat taps the Driver's shoulder.
MAN #2
Guy's nuts. Let's go.
The Driver, never breaking his death stare, snaps on the
DEAFENING MUSIC and then slowly rolls on, still glaring
at Catch. Catch stands in the rain, watching them go.
10.
INT. CATCH'S APARTMENT CORRIDOR - SAME NIGHT
Catch is arriving home, soaking wet. He lives in a
slightly-seedy three-story. As he walks down the
corridor toward his apaprtment, he passes a neighbor's
door and notices a set of keys dangling from the lock.
He pauses -- and then knocks softly on the door.
Someone looks through the peephole and then opens the
door -- a young single mother, friendly but with a little
caution, too. She recognizes Catch. Behind her is a
little boy, (five). The woman's name is CANDACE. Her
son is TOMMY.
CANDACE
Hi.
CATCH
Hi. Your keys are in the...
He gestures, and she sees the keys and retrieves them,
more friendly now.
CANDACE
Oh, thank you. Thanks a lot.
God. I was trying to carry Tommy
and all these bags. He was so
tired. Of course, as soon as I
put him down he had all this
energy...
While she is talking, Catch is staring deeply at the boy,
who is shy. Catch almost speaks to the boy, wants to,
goes halfway to a smile -- but the sight of the kid stirs
that layer of darkness in Catch. He nods a good-bye to
the mother and is about to go. She thinks about this, as
he is turning, and pushes through her remaining caution
to say...
CANDACE
Y'know, we were just baking
nectarine bars because the peaches
weren't ripe. Ever had a
nectarine bar?
He smiles and seems to want to stay, but he is already
retreating. His contact goes only so far -- and no
further.
CATCH
Sorry. Gotta be going.
And with one more glance at the boy, he walks to his
apartment, unlocks it and steps in.
11.
INT. CATCH'S APARTMENT - NIGHT
He walks into a bare living room -- no chairs, tables,
lamps, nothing on the walls. He walks into a spotless,
never-used kitchen and flips on the light, opens a
drawer.
In the drawer is a collection of kids' toys, some found,
some purchased, mostly plastic figures. The action of
opening the door has started some battery-operated
animals moving around in there. Now from his pocket he
takes the plastic superhero he just found and drops it in
and closes the drawer.
He walks back into the living room. He sits on the
floor, leans back against the wall, his clothes still
soaked from the rain. He stares at his thoughts, looking
a bit numb -- and lost.
EXT./INT. DRY CLEANERS SHOP - DAY
Sharon is just leaving with a clean uniform on a hanger
in a plastic bag. It's a neighborhood place where
alterations are done. As she is leaving, an older woman
is just entering. This is MRS. VANDER, beaming at
Sharon, a real talker.
MRS. VANDER
Sherry!
SHARON
Hi, Mrs. Vander. You're looking
good.
MRS. VANDER
Oh, you just wait. I splurged.
She is pulling a new blue dress out of a shopping bag.
MRS. VANDER
It's for the church and the party.
It's just a little too long.
SHARON
Looks great.
MRS. VANDER
Y'know, I cried over the
invitation -- just imagine me in
church.
(laughs)
It'll be so good to spend time
with you.
(CONTINUED)
12.
CONTINUED:
Sharon forces a smile -- but is mystified. Mrs. Vander
is walking to the counter and pausing to say...
MRS. VANDER
You know Dan and I renewed our
vows last year. I bet that's
where your mom got the idea.
SHARON
Their vows?
MRS. VANDER
Your mom and dad -- the
ceremony...
Mrs. Vander realizes what's going on and stammers on,
sympathetic and embarrassed.
MRS. VANDER
Oh, well... y'know, I just got
that invitation a few... just now,
so I'm sure you'll...
SHARON
Oh, yeah. We've had... there's
been some problems with the mail
in our building, so... I'll
probably get it today.
They're both covering like mad, both realizing Sharon's
been left out.
SHARON
So, I guess I'll see you.
MRS. VANDER
Sure, honey. I'll see you there.
Sharon leaves -- Mrs. Vander staring after her, feeling
bad. As Sharon walks away, we see her forced smile die,
replaced by an old pain and darkness.
EXT. RESIDENTIAL STREET - DAY
Robby and Sharon's unit pulls up at a house remodel with
a sign marked "POGUE CONSTRUCTION." Sharon exits the car
and walks onto the site, moves toward a man who is both
carpenter and supervisor on the job. This is her
brother, LARRY POGUE, 29. They are not comfortable with
each other -- an old wound. He gives her a wary nod.
She's trying a little harder, being a bit more friendly.
We can sense the strain.
(CONTINUED)
13.
CONTINUED:
SHARON
I didn't see his truck, so...
LARRY
He's not here.
SHARON
How you doing?
She touches his shoulder as she says this, a friendly
gesture, a reaching out. He doesn't respond, only
shrugs.
LARRY
I'm okay.
SHARON
Kathy and the boy? Bet he's big
now.
LARRY
Growin' fast.
SHARON
Is he looking more like you now --
or did he get lucky?
She has broken through a bit and they both smile a brief,
wry smile.
LARRY
He's got Kathy's looks and brains
and my strong back. You should
feel his grip.
(pause)
You just passing by?
She looks about.
SHARON
Place is coming along nice. The
octagon window. Dad's signature.
But Larry's look stays on her, wondering what's on her
mind.
SHARON
Look, Larry, I shouldn't have to
hear it from Mrs. Vander -- about
what's happening.
He turns back to his work now as they speak,
uncomfortable.
(CONTINUED)
14.
CONTINUED:
LARRY
What's happening?
SHARON
(hurt)
So you really weren't going to
tell me? Nobody was going to tell
me? Mom and Dad renewing their
vows, the church, the party. Mrs.
Vander is all excited. She bought
a new dress. It's blue.
LARRY
We're workin' on Dad. We think
you should be there. We told him.
SHARON
Mom told him?
LARRY
We mentioned it.
SHARON
He's holding out, hah?
LARRY
You want to come?
SHARON
It's my family. Jesus, Lar. It's
over ten years, and he won't let
go of it.
LARRY
You two were always head to head.
SHARON
For good reason. Remember?
LARRY
Let's just leave it.
She stares, then...
SHARON
You're still scared of him.
Pissed, he throws his hammer down on the plywood, turns
to her.
(CONTINUED)
15.
CONTINUED:
LARRY
I don't think it's a good idea you
coming around here in uniform.
People see it, they think we're in
trouble here.
SHARON
Nice seeing you, too.
She walks away. He frowns, picks up his hammer, goes
back to work.
ON STREET
As Sharon walks towards the car, she sees a van
approaching and she holds up a hand to Robby and calls
out...
SHARON
Two more minutes.
And she walks toward the oncoming van, which is parking
now.
EXT. VAN - DAY
The van is driven by KATHY, Sharon's brother's wife.
Beside her in a car seat is LARRY, JR., four years old.
Sharon comes to the rolled down window on the driver's
side. She has a warm smile for Kathy and the child.
Kathy smiles, too.
KATHY
Hi! Look -- it's your Auntie
Sharon.
SHARON
Hey, Champ, my God, look how big.
She has a special affection for the boy -- who is
subdued, but he smiles a small one for his aunt. She
takes one of his hands and they shake in mock formality.
LARRY JR.
Hi.
SHARON
Ow! You hurt my hand with that
grip. Whew.
(CONTINUED)
16.
CONTINUED:
She shakes her fingers, and he smiles a bit more. Sharon
reaches in and rubs his head in a mock knuckling move.
He laughs. She smooths his hair, affectionately.
KATHY
We're bringing Larry his lunch.
Hey, it's good to see you. It's
been awhile. What?
Sharon is staring at Kathy's badly bruised ear.
KATHY
Oh, I went boom into a low shelf
-- chasing after him of course.
(nodding to the child)
How're you doing?
Sharon pulls her eyes off the bruise to meet Kathy's look
-- and connect.
SHARON
I'm semi-okay. I heard about
the... ceremony and the party.
KATHY
(embarrassed)
Oh. I hope you'll be there.
(pause)
Really.
Sharon smiles a bit, appreciating the support. She pats
Kathy's arm.
SHARON
Take it easy. You too, Champ.
The boy offers his little hand to shake again.
SHARON
Oh, no. You're not breaking my
fingers again.
They smile and drive on and Sharon walks toward her car
and Robby.
EXT. CITY PARK - DAY (NEXT DAY)
We WATCH moms and kids and a basketball game in the park
and PICK UP Catch walking by. Two pre-teens are playing
bounce and catch with a rubber ball against a (tennis
practice) wall, and one of them misses, and Catch makes a
lunge and snags the ball. Instead of throwing it to one
of the boys, he fires it at the wall.
(CONTINUED)
17.
CONTINUED:
One of the boys catches it, bounces it off the wall
toward Catch. Catch grabs it, and now he's part of this
rapid-fire game -- and he's athletic and funny, too,
playing hard and mugging and making them smile until... a
POLICE CAR comes ROARING down the boulevard, slowing a
bit to CHIRP its SIREN a few times -- clearing traffic.
Catch glances up and sees...
CATCH'S POV
Sharon is in the car beside Robby.
ON CATCH
Stunned by the sight of her -- and he doesn't know why.
He can't move, can't breathe, eyes fixed on her. The
POLICE CAR pulls around a truck and ROARS on -- and
that's when he is struck by a memory, a little like
lightning. It comes as a quick --
FLASHBACK - EXT. FREEWAY - ACCIDENT SITE - CATCH'S POV
-- The man near death. Sharon is bending close to him,
this all just a sliver of an image, and it jolts him.
BACK TO SCENE (PRESENT)
The police car is now converging with other squads just
half a block away. Catch throws the ball back to the
boys and runs toward the police incident. The boys watch
him go, wondering.
EXT. CLOSED STORE - DAY
A police car is parked askew near this closed store -- as
now Robby and Sharon's UNIT ROARS to a STOP beside it.
Two cops are calling and motioning to them, one holds a
shotgun. This is RAY JULIETTE.
RAY
Break-in alarm. One suspect in --
nobody out. Take the back.
And they are moving.
EXT. BACK OF CLOSED STORE - DAY
Robby and Sharon are hurrying around to the back as we
hear more POLICE UNITS CONVERGING in front.
18.
ANGLE - STREET
As Catch arrives on the scene and sees Sharon and Robby
moving around the building to the back. He is still
amazed at the sight of her. He decides to follow her,
keeping her in sight, driven.
ON SHARON, ROBBY
They are scouting through crates and weeds as a young man
is flushed from cover at the back of the store and runs
from them.
ROBBY
Freeze!
The man runs on, and Sharon chases with Robby close
behind her. Sharon speaks to her shoulder radio mike as
she runs.
SHARON
(to radio)
Three-A-5, foot pursuit. Suspect
fleeing south on Pico Place, young
man, green jacket. No visible
weapon...
(to Robby)
Robby!
ROBBY
Right behind you!
(to man)
Stop and lie down with your
arms... shit.
The man has jumped a fence. Sharon follows.
ROBBY
Careful!
SHARON
I see him!
She goes over the fence, then Robby.
EXT. PARKING LOT - DAY
The man runs and Sharon chases. Robby, not far behind
glances off to the side, seeing Catch, still following.
ROBBY
Citizen on your right! Hey!
(CONTINUED)
19.
CONTINUED:
But Sharon is now closing on the fleeing man who turns
suddenly, pointing a handgun!
ROBBY
Gun!
And Sharon, wide-eyed, is already pulling her weapon, but
not in time. The man is aiming at her and about to fire
when he is tackled by Catch.
Catch and the man go sprawling, and the gun flies out of
the man's hand, and Sharon is on him in an instant,
pointing her gun at him...
SHARON
Freeze! Right there!
Catch scrambles to his feet. Robby joins Sharon and puts
his knee in the man's back and cuffs him, then glances at
Catch. So does Sharon. But Catch starts to hurry off.
ROBBY
Hey! Wait!
Two other cops (Ray Juliette and SANCHEZ) rush toward the
suspect on the ground.
RAY
You got him?
ROBBY
He was armed.
RAY
Jesus.
ROBBY
Citizen took him down.
RAY
No shit!?
Sharon stares across the lot to where Catch has halted.
More cops are converging. Ray Juliette and Sanchez move
toward Catch, while a sergeant and others surround Sharon
and the suspect. In between the crowd of cops, Catch and
Sharon glance at each other, during...
ON CATCH
as the cops reach him.
(CONTINUED)
20.
CONTINUED:
RAY
What happened here?
CATCH
I... just saw it and... I saw the
gun, so...
ON SHARON
ROBBY
You all right, Pogo?
She is shaken, speaks softly.
SHARON
I was dead. Y'know.
She glances toward Catch. (She doesn't recognize him
from the accident.) Their eyes meet briefly, but then
their attention is pulled to the others. Sharon speaks
to her sergeant.
SHARON
He had me. I was dead.
ON CATCH
He is shaken, too. Sanchez is taking notes as Ray checks
his I.D.
CATCH
I was just walking by. I live
near here.
Ray nods, handing the I.D. to Sanchez.
SANCHEZ
Sergeant's going to want to talk
to you, Mr. Lambert. We'll need a
statement.
RAY
Don't worry about it. That's just
procedure. Look -- we appreciate
what you did. No bullshit. Let
us buy you a drink tonight, all
right? You know where the Rib
House is?
Catch glances at Sharon again, and he nods.
21.
EXT. UPSCALE RESIDENTIAL NEIGHBORHOOD - DAY (SAME DAY)
Catch, a bit bruised and dirty from his tackle, is
carrying groceries up the walkway steps to a small, well-
kept home. He is taking out a key as he walks to the
covered portico.
INT. MRS. CHU'S HOME - DAY
ELANORA CHU, 60, is an attractive woman with warmth and
intelligence in her eyes. She is in a wheelchair, at a
writing table where she carefully translates an English
text into Chinese characters.
She glances up as Catch opens the front door and heads
for the kitchen, speaking as he goes, not looking at her
or into the living room at all.
CATCH
I got you nectarines because the
peaches are hard as rocks.
ELANORA
Your jacket's all dirty.
She rolls away from the table in her motorized chair --
and as they speak across the house, she performs a
ritual...
CATCH (O.S.)
I tackled a guy.
Elanora is moving about the living room, picking up
framed photographs and turning them face down. We don't
see what -- or who -- is in these photos. She is turning
them all in a routine way, used to this.
ELANORA
Why would you 'tackle' a guy?!
CATCH (O.S.)
Why do you think?
INT. KITCHEN - DAY
Catch is at the cupboards, putting away groceries as
Elanora rolls into the kitchen, her CHAIR HUMMING.
CATCH
He had the ball. He was going for
a touchdown.
ELANORA
Can you be serious?
(CONTINUED)
22.
CONTINUED:
CATCH
(as he works)
What day is today?
ELANORA
Wednesday.
CATCH
No.
They are not smiling at their little jokes, but they have
an ease with each other and the deep love of dear
friends. He doesn't pause in his work, but we can see
some nervousness in him as he says...
CATCH
Met somebody today.
Mrs. Chu is now taking some of the groceries out of the
bags to help.
ELANORA
Oh? That's good. Ahh -- they had
the broccolini today. Thank you.
CATCH
A woman.
Elanora is more interested and curious now, still helping
with the groceries and being casual.
ELANORA
You didn't tackle her, too, did
you?
CATCH
No.
ELANORA
Good, Catch.
CATCH
She's a police officer.
ELANORA
(stops; worried)
Are you in trouble?
Catch goes on working, a depth in his eyes.
CATCH
No. No trouble.
(CONTINUED)
23.
CONTINUED:
Elanora watches him work and gladdens slightly. We see
her own depth of feeling.
ELANORA
Well... that's a good thing.
He is still working, but his eyes are on his thoughts,
his struggle.
CATCH
I saw her once a long time ago.
Elanora stares a moment. This has meaning for her.
ELANORA
Where?
He doesn't answer. He's nervous about this.
CATCH
She looks the same.
Now she watches him as he moves to the refrigerator and
continues his work in silence.
INT. RIB HOUSE - THAT NIGHT
It's a noisy restaurant with a large bar area. We PAN TO
a booth of off-duty cops, out of uniform now, including
Ray, Sanchez, Sharon and a few more male officers.
They're all a bit high. Sharon shows the signs, too.
They are passing around a photo now as one COP looks at
it and says...
COP
Beautiful.
... And Sanchez says proudly.
SANCHEZ
Yeah. My wife's got him in
agility class.
RAY
No shit.
Ray is handed the photo, and we see that they're talking
about Sanchez's dog, the name "REX" printed on the photo.
(CONTINUED)
24.
CONTINUED:
RAY
'Rex.' Rex is good. I wonder who
the first person was to name a dog
'Fido,' and what the hell does it
mean?
SHARON
I like how you're always asking
the big questions, Ray.
There is some laughter. Ray is a smart-ass and a flirt.
RAY
I got a big question for you, Pogo
-- but I can only ask it when
we're alone.
She moves some of the change on the table, sliding it
toward Ray.
SHARON
Here -- use this -- call your wife
and ask her instead.
SANCHEZ
I happen to know Ray's wife is
busy tonight.
They laugh and drink and Ray asks her...
RAY
Why doesn't your partner ever come
out with us?
SHARON
Robby's a family man.
RAY
I'm a family man.
SHARON
Yeah, but his family actually
likes him.
More laughter. Sharon's eyes do a quick roam of the bar.
Ray catches this.
RAY
That Lambert -- I guess he's not
showing either.
She shrugs this off like it's not important and starts to
slide out of the booth.
(CONTINUED)
25.
CONTINUED:
RAY
Where are you going?
SHARON
The head. Do you mind?
SANCHEZ
She's just gonna freshen up her
makeup.
RAY
You're wearing makeup?
She leaves the booth with a wry frown.
SHARON
That reminds me, Ray. You still
have that eye-liner you borrowed
from me?
She grins, leaving the laughter behind her.
ANGLE - DOOR
Catch has entered the bar. He is watching Sharon leave
the booth and walk to the rest rooms. He looks back at
the raucous booth and hesitates. He sits at a small
table near the door.
INT. BATHROOM - NIGHT
Sharon is drying her hands in the bar's bathroom, staring
into the mirror. No smile now. We see into her mind for
a second.
FLASHBACK - MAN
Pointing the gun at her face today.
BACK TO SHARON (PRESENT)
in the mirror and see how shaken she still is.
ON CATCH
A waitress is leaving his table, and he looks back at
Sharon's booth and sees that she still isn't there. He
starts to turn, and then freezes as he hears...
(CONTINUED)
26.
CONTINUED:
SHARON (O.S.)
There you are.
She has stepped out of the bathroom and spotted him. He
is surprised, face to face now.
SHARON
We thought you wouldn't show. Why
you sitting here?
He shrugs.
CATCH
I don't talk to a lot of people.
Would you...?
He half rises and gestures to the other chair. She
glances back at her booth, then sits. She's nervous,
too.
SHARON
I didn't have a chance to thank
you. I'm Sharon Pogue.
She puts out her hand. He stares at that hand for just
half a beat before taking it. They shake. The feel of
her hand holding his evokes the memory of the accident,
but he covers this.
SHARON
You look familiar.
CATCH
I guess I live on the beat you
patrol.
Her way to cover nervousness is to be blunt, even tough.
SHARON
Why would you do that -- jump a
man with a gun?
CATCH
(shrugs)
He was going to shoot you.
SHARON
He could've shot you. You have a
death wish? You a bungee jumper?
CATCH
No. I didn't have time to think
about it.
(CONTINUED)
27.
CONTINUED:
SHARON
What d'you think about it now?
CATCH
I figure... it was worth the risk.
SHARON
For someone you don't even know?
CATCH
Yeah -- and for what you do. I
think cops are great. Out there,
trying to keep it safe. You know?
Tough job. Firemen are
everybody's heroes. Kids wave at
firemen. People should wave at
cops. Did you ever think about
how many people are walking around
this town because you saved them?
SHARON
I never thought about it.
CATCH
... because you helped them or
because you arrested somebody who
would've hurt them or because you
just... did your job?
SHARON
Now I'm walking around this town
because of you. Ever think about
that? Maybe you should be a cop.
CATCH
I don't know... I look pretty dumb
in a hat...
He has made her smile.
CATCH
... and I don't drive and, like I
said, I don't talk to many people.
Am I talking too much? I am. You
go ahead.
SHARON
Okay. What d'you do? You
employed around here? Oh, God.
Sorry. Every time I try to talk
to somebody, it comes out like an
interrogation.
(CONTINUED)
28.
CONTINUED:
CATCH
Where do you want to be ten years
from now?
SHARON
What?
CATCH
Somebody taught that to me. Kind
of a shortcut. You ask somebody,
what are your plans for
tomorrow -- what're your dreams
for ten years from now. It's
supposed to get things started.
SHARON
Does it work?
CATCH
I never tried it.
SHARON
Bullshit.
CATCH
No. Really. I just remembered it
-- God is my witness.
SHARON
Not in here. It's mostly cops.
Now she has made him smile, the first real smile we've
seen from Catch. It's open and real and she is charmed
by it.
SHARON
You have a nice smile.
She's a bit self-conscious, saying that, and just as she
says it, the waitress arrives with shots and beers for
both of them. Sharon looks up, questioning, and the
waitress nods toward the booth. Catch and Sharon see the
cops, staring, smiling, raising their glasses. There is
a hint of teasing in their grins. And now Sharon is more
self-conscious, and a bit tough again, taking her drink
and turning back to Catch.
SHARON
So... what were we talking about?
Oh, yeah, you were giving me some
line about starting a
conversation.
(CONTINUED)
29.
CONTINUED:
CATCH
The shortcut.
SHARON
Okay. I'll play.
They clink glasses and drink. Then...
SHARON
Tomorrow I've got a night watch
shift. If the weather clears, in
the morning I'll go hiking. If it
rains, I'll go to the gym -- and
the laundromat. Ten years from
now... I want to be living in some
mountainous place.
CATCH
Tibet?
SHARON
Could be Tibet. Could be
Colorado. Your turn.
But now Ray Juliette is approaching the table.
RAY
Hey, Pogo -- don't keep him all to
yourself. Come on over, Lambert,
join the group. We'll buy you
dinner, give you a medal for
saving Pogo's ass.
Sharon drains her shot and stands.
SHARON
Actually, I'm kind of tired, Ray.
I'm taking off.
CATCH
Oh. I'll... walk you to your car.
Catch stands and turns to Ray.
CATCH
Thanks for the drink.
RAY
Least we could do. We don't like
her very much -- but we don't want
to lose her.
Sharon frowns and waves to the booth of cops. Ray smiles
and shakes hands with Catch as a good-bye.
(CONTINUED)
30.
CONTINUED:
CATCH
Take care.
And Catch and Sharon leave.
EXT. BAR - NIGHT
As Catch and Sharon exit the building, walk toward her
car.
SHARON
It's not a great neighborhood.
Maybe I should walk you to your
car.
CATCH
I don't have a car.
They walk on, silent a moment. This doesn't come easy
for her.
SHARON
Want a ride home?
CATCH
Oh, thanks, but... I like to walk.
SHARON
It's starting to rain. Don't be a
hero.
He hesitates, nervous about it, but then...
CATCH
Yeah. If it's no trouble.
Thanks.
They walk to her car.
SHARON
Okay... ten years from now, what
d'you want to be doing?
They walk side by side a moment. He shrugs. Then -- in
his open way...
CATCH
I don't know. This is pretty
good.
She glances at him, taking this in, then fumbles a bit
with her car keys, and he asks -- nervously again...
(CONTINUED)
31.
CONTINUED:
CATCH
Can you drive okay?
She gets a little defensive.
SHARON
I'm not drunk. You think I'm
drunk? I'm not. You'll know I'm
drunk when I'm throwing up, and I
never throw up, so don't worry
about it.
He nods, looks at her dead-on a moment.
CATCH
The only time I worry is when
people tell me not to worry.
SHARON
Get in the car, will you?
INT. CAR - NIGHT
As they get in and she STARTS the ENGINE.
CATCH
I'm on Lundy Street, just off
Pico.
They drive a while. She notices his anxiety. He grips
the armrest when she speeds up.
SHARON
I'm good at this.
CATCH
Streets are wet.
SHARON
Are you one of those people who
drive ten miles an hour in the
rain? I hate that.
CATCH
I never drive.
She glances at him, and he notices her glance.
CATCH
I'll be alright.
(CONTINUED)
32.
CONTINUED:
He's forcing himself to relax. He takes a deep breath,
sitting back in his seat. He watches her as she drives.
After a moment...
CATCH
Y'know, I can picture you in
Colorado.
SHARON
Oh yeah? What am I doing there?
CATCH
Driving around... pissed off.
She smiles in spite of herself, slows down.
SHARON
I'm not pissed off at you.
CATCH
Give me some time.
Now she laughs. She drives, not to his building, but to
her own street. She parks, takes a deep breath. This
sounds a bit hard-bitten because she's using her
toughness to cover.
SHARON
Those guys in the bar are my
friends -- sort of. We work
together, we tell jokes and we
bullshit, but I can't say to
them...
She halts.
CATCH
What?
She says this clipped and fast and even tougher:
SHARON
Every time I close my eyes, I see
that goddamn gun pointing at me
and I don't know why I'm telling
you unless it's because you were
there and because I had three
drinks, but I'm not ready to go
inside and close my eyes and I
don't want to go to your place and
I don't want to keep driving
around, so what the hell do we do?
(CONTINUED)
33.
CONTINUED:
CATCH
Whew. I feel like we're boxing,
and you've got me on the ropes.
(pause)
We'll do whatever you want.
SHARON
What I want is to know how you
happened to be walking by that
parking lot at that minute. What
if you hadn' t been there?
For a moment, she shows her fear.
CATCH
I guess we were supposed to meet.
They stare a while, then she opens her door.
SHARON
If you want -- you can come in for
a minute.
INT. SHARON'S APARTMENT - NIGHT
As they walk in, she moves into the kitchen.
SHARON
Want a drink?
CATCH
No thanks.
She pours one for herself while he looks about. It's a
stiff drink. Now that he's here, her I-don't-want-to-
make-a-fool-of-myself alarm is on. She flops on the
sofa, watches him.
SHARON
Sit down or something.
CATCH
I'm circling awhile.
He's looking around at the clutter of her life -- the
intimate details.
SHARON
You're not supposed to look
around. I didn't have time to
straighten up.
(CONTINUED)
34.
CONTINUED:
CATCH
So... it's more real this way.
SHARON
It's rude.
He turns to her.
CATCH
Now that I'm in here, you seem mad
about it.
SHARON
I'm not mad. You'll know when I'm
mad. I don't usually let somebody
in here, but here you are. That's
all. Let's talk about something
stupid.
CATCH
You first.
She smiles in spite of herself.
SHARON
Okay -- one thing I don't believe
is that 'supposed to' business.
We were 'supposed to' meet. That
sounds a little fringy to me, like
something you might hear on public
access TV. You believe that?
CATCH
Some people say we each give off a
particular odor -- that can only
be detected by one other person's
brain.
SHARON
So, we... smell each other? Who
says that?
CATCH
I have no idea.
(as they smile)
I'm more in the destiny school,
we-met-in-another-life school. Do
you believe that? Do you think
when we die -- we come back in
another form?
(CONTINUED)
35.
CONTINUED:
SHARON
You mean like a duck? No. I
think dead is dead. I've been
thinking about it all day -- and I
don't want to think about it
anymore.
He looks at her, steps close to her, takes the drink out
of her hand, puts it to his lips and drinks it all down.
He puts the glass on the table.
SHARON
Why'd you do that?
CATCH
See? Now you're thinking about
me.
She gets a half smile, assessing him. Her look is
direct, and the attraction is there. He feels it, too,
and he deflects it, nodding toward a large photomural of
snowcapped mountains.
CATCH
Let me guess. Colorado.
SHARON
It's Austria, but I can't picture
myself in Austria. I'm not good
with languages, so I couldn't
qualify for the departments over
there.
She rises and goes to a desk and takes the holstered gun
off her ankle. She takes the cuffs off her belt, the
mace from her jacket, the shield from her shirt pocket,
puts them all in a desk drawer. She takes off her jacket
and throws it over a chair. Disarmed, she turns to him.
Her look is all wanting and pushing away, almost fierce
in her struggle. He sees this.
SHARON
Thanks for... coming up here.
CATCH
Does that mean I'm going?
SHARON
(flustered)
No. You don't have to. I...
CATCH
You okay now?
(CONTINUED)
36.
CONTINUED:
Her eyes grow a bit hard, defensive.
SHARON
Oh. You're here as a medic.
CATCH
Is this the mad part?
She smiles in spite of herself -- again. He has gotten
to her. She wants to fall into this guy, but she's
pumping those brakes. They are standing close together.
SHARON
Maybe going is a good idea.
CATCH
Can I come back some time?
SHARON
Why?
CATCH
(shrugs)
Must be the smell.
That makes her laugh, and her resistance falls away with
her surprised laughter, and she puts her hands around the
back of his neck. Her touch is electric to him. She is
going in for a kiss, and he is retreating. They stare a
moment -- and then he suddenly takes her shoulders and
lets loose his own longing. It is a hungry and
passionate kiss, and in the very midst of it, he breaks
off and pulls back, his darkness rushing at him. She is
staring, surprised, and he is looking a bit shaken,
getting the words out just above a whisper.
CATCH
I better go.
She doesn't know what to say. The moment hangs. He
leaves. Once he closes the door, the breath escapes her,
and she shakes her head -- feeling like an idiot. She
lost control. With a stranger.
SHARON
Oh, God.
EXT. STREET - NIGHT
Catch leaving Sharon's building in a turmoil of emotions,
staring hard at his thoughts -- and he steps into the
path of a car. The CAR SCREECHES to a stop, and the
scream of those brakes and white light of the head lamps
paralyze Catch, and he sees --
37.
FLASHBACK - SLIVER OF IMAGE
Headlights suddenly washing into a vehicle he is driving.
BACK TO SCENE (PRESENT)
This sliver of memory jolts HIM -- and then another one
comes.
FLASHBACK - HEADLIGHTS
coming closer and the scream of brakes from his memory,
and all of this is exploded --
BACK TO SCENE (PRESENT)
by the angry DRIVER shouting at him.
DRIVER
What the hell do you think you're
doing?!
Catch is numb -- completely shut down there in the middle
of the street. The Driver exits his car and comes toward
him, raging.
DRIVER
Are you crazy?!
Catch isn't even aware of him. The man gawks at this --
and now Catch walks off. It is raining. The streets are
wet.
ANGLE - RESIDENTIAL STREET - NIGHT
As Catch continues his walk, he is still a bit shaken --
but when he passes a parked car with the window half
open, rain getting in, he hesitates. He can't just walk
on. He looks about. He tests the lock. He opens the
door, rolls up the window, closes the door, walks on.
But a MAN is just exiting a doorway to the street -- and
calls out...
MAN
Hey! Hey! What did you do?
Catch stops and turns in the rain. The Man hurries
toward him, upset, angry.
(CONTINUED)
38.
CONTINUED:
MAN
That's my car! What the hell were
you doing?
CATCH
Nothing. I just...
The Man shoves him.
MAN
I saw you! What did you take out
of there?!
CATCH
No, I rolled up the window. It's
rain...
The Man gets in his face, shaky...
MAN
You take my phone?! Hah?!
He shoves Catch again, and Catch's desperate confusion
explodes in a surprising reaction, grabbing the Man's
jacket front in one hand and not punching him but quickly
slap, slap, slapping him, saying...
CATCH
Hey! Hey! Wake up! Wake up!
The Man is now speechless, frozen, terrified, as Catch's
eyes hold him with a fierceness -- and a sadness.
CATCH
I helped you.
(pause)
I helped you.
Catch lets him go, and immediately begins walking away,
hunching into the rain, his expression dark and troubled.
He gets five steps away and turns. The Man steps back --
but Catch only says...
CATCH
I'm sorry.
And he walks on. The Man watches him go.
INT. CATCH'S APARTMENT BUILDING CORRIDOR - NEXT DAY
Candace, Catch's neighbor, is waiting for the slow,
RATTLING ELEVATOR with her son.
(CONTINUED)
39.
CONTINUED:
The elevator door opens -- and there is Catch, seated on
a newly-bought wicker chair in the elevator with a small
table across his lap, other boxes nearby and a
long-stemmed rose in his hand, wrapped for giving.
CATCH
Oh. Sorry.
He rises and hurriedly gets his purchases off the
elevator so the woman and little boy can enter.
CANDACE
Shopping day?
He smiles at her, a bit less subdued than before as he
gets his things into the hall -- and he manages a special
look for Tommy, a wink. He frees the elevator; they step
inside. As the door starts to close, Catch's face
"follows" the sliding door with a funny look for the boy.
We hear Tommy laugh as the door closes. Catch carries
his new possessions to his apartment.
EXT. OLDER HOUSE - LATE DAY
A well-kept older home, well-planted, pretty. A woman of
nearly 60 is tending the flowers. She hears someone
approaching the gate in the wooden fence. She looks up.
Sharon is at the gate, in uniform, on her dinner break.
The older woman is her MOTHER, Elaine Pogue. There is an
old strain between them, a sadness -- and a nervousness
in Elaine. She's a quiet woman. She smiles at her
daughter as Sharon comes through the gate. They hug
tentatively, a lot of baggage here. Sharon turns to the
garden.
SHARON
It's looking great, Mom.
MOTHER
(pleased)
Thanks, honey. It's the best year
ever for the impatiens. The very
best.
There is a beat of awkward silence.
MOTHER
Let's go in.
INT. POGUE HOME - DAY
As they enter.
(CONTINUED)
40.
CONTINUED:
It's a bit dark inside, older furniture, lots of keepsake
clutter and photos. Sharon is restless in here -- bad
memories.
SHARON
Looks the same. Still smells like
cigarettes. I thought he quit.
MOTHER
He's down to six a day.
SHARON
Your hair looks nice.
Her Mother touches her hair, self-consciously. She can't
help glancing at her daughter in all that gear --
bullet-proof vest under her shirt, radio, cuffs -- and
that gun.
MOTHER
Are you well?
Sharon steps close to the mantel. There is a photo of
her there, graduating from the police academy, a
professional, not a family shot. She is surprised.
SHARON
I guess I'm well. Is this always
here?
MOTHER
Yes. It's always there.
SHARON
Did Larry tell you I came by where
he's working? Is that why you
called me?
MOTHER
I called because we want to invite
you to our renewal of vows. It's
three weeks from Saturday.
SHARON
Who's 'we.' You said 'we' want to
invite you.
MOTHER
The family.
Sharon takes that in, still looking about.
(CONTINUED)
41.
CONTINUED:
SHARON
How come you're renewing your
vows?
MOTHER
It's sort of... a fresh start.
SHARON
Your idea?
MOTHER
No. Both of us. It's a way of...
having the marriage blessed.
SHARON
Wasn't it blessed before?
Her Mother sighs, sad for all the trouble between them.
MOTHER
Sherry... of course it was
blessed. You just...
SHARON
I just what, Mom?
MOTHER
You just think about the bad, and
you never remember the good. I
wish you remembered the good.
Sharon stares deeply at her.
SHARON
Sorry. I wish I did, too.
(then, almost
like a child)
Does he? Remember any good about
me?
MOTHER
Of course. He doesn't hate you.
He just... still feels hurt.
SHARON
Hurt? I hurt him?
MOTHER
Being arrested like that.
Somebody doesn't forget that.
SHARON
Oh? How come you forgot what he
did?
(CONTINUED)
42.
CONTINUED:
MOTHER
It wasn't as bad -- you always
make it sound worse. And it
hasn't been that way for years.
SHARON
I'm glad it hasn't been that way.
That means it worked, Mom. That
was the point. That's why I did
it. Christ. Why do I get
punished for it?
MOTHER
Honey, nobody's punishing you.
We're inviting you. Will you
come?
SHARON
Of course I'll come.
MOTHER
We didn't think you'd want to.
SHARON
Why not?
Now her Mother shows a trace of fear. She says gently...
MOTHER
We don't want any trouble... on
that day. Please.
SHARON
Mom, I'm your daughter. I don't
want any trouble -- ever. I'll
come to the ceremony. I won't
come to argue, and I won't come in
uniform.
They each get a small, sad smile.
MOTHER
It's on the 23rd. Saint Monica's.
SHARON
I'd like you to send me an
invitation. Mrs. Vander said it's
a beautiful invitation.
Her Mother starts to leave the room.
MOTHER
I'll show you.
(CONTINUED)
43.
CONTINUED:
SHARON
Mom. I'd like to get one... in
the mail... from my family. Okay?
MOTHER
Yes.
Sharon goes to the door, then stops and turns, letting
her guard down all the way to say...
SHARON
Tell Dad... thanks.
And she leaves.
EXT. SHARON'S APARTMENT - EVENING
Sharon is climbing the outdoor staircase to her
apartment, tired after her shift, drained a bit by her
visit home. When she reaches her door she sees that a
long-stemmed rose has been masking-taped to her door.
Written on the masking tape is: "Catch Lambert" and a
phone number.
She pauses, staring at this, gets a little grin.
INT. SHARON'S BEDROOM - NIGHT (HOURS LATER)
Sharon is dressed for bed in a sleep shirt, lying on the
bed, surrounded by old photos and a couple of photo
albums from her girlhood. In a vase on her bed table is
Catch's rose.
Sharon is feeling blue, looking at her young self within
the family that has shut her out. She closes the book,
angry at herself for nearly crying. She sits up and
catches sight of the rose and rummages in the drawer and
pulls out the tape with Catch's phone number on it.
She's very conflicted about this. She puts the tape
down, but it sticks to her fingers. She tears it off and
tries to throw it onto the table, but it hangsoff her
thumb. She sighs and steels herself and dialsthe
number.
INT. CATCH'S APARTMENT
He has bought a shelf unit that "needs some assembly" and
he's at work with a screwdriver, his new chair and table
nearby, the phone on the floor. PHONE RINGS, and he
picks it up.
44.
FULL SHOT
As we INTERCUT the call:
SHARON
Do you have a machine?
CATCH
What?
SHARON
Do you have an answering machine?
CATCH
Yes.
SHARON
Will you hang up please, and I'll
call your machine.
CATCH
Why?
She hangs up. He stares at the phone a moment,
bewildered. He hangs up, and his PHONE RINGS. He lets
it ring. His MACHINE comes on with no recording, only a
BEEP.
SHARON
Hi. Maybe we can... have
breakfast or something. I get up
early and run in Ballard Park.
There's a Denny's across from the
park. Like eight or so. If
you're there, you're there.
She hangs up, sighs a heavy one.
SHARON
Oh, God.
And she falls back on her bed.
INT. DENNY'S - MORNING
Catch walks in, glances at the clock. It's 7 A.M. He's
nervous -- and excited. He takes a seat where he can
watch the park, the runners. He waits.
INT. SHARON'S APARTMENT - MORNING
She has tossed and turned all night. She is awake,
turning to look at her clock-radio. It is 7:14. She
raises a hand over it.
(CONTINUED)
45.
CONTINUED:
It changes to 7:15 and the RADIO COMES ON. She slams her
hand down on it, cutting it OFF. She lays back and
heaves a sigh that becomes a moan, sits up again and
picks up the phone, dials the number on the tape.
SHARON
Hi, don't pick up. Look, I didn't
sleep much and anyway this is a
bad idea. I was feeling funky
last night and I'm all right now
so let's just leave it where it's
at. Bye. Oh, thanks for the...
Bye.
She hangs up and lays back down and pounds her head into
the pillow and covers herself, even her head, with the
sheet.
INT. DENNY'S - MORNING
Catch is waiting, watching out the window. It's 8:05,
until we...
DISSOLVE TO:
INT. DENNY'S - MORNING
... and now it's 8:38, and Catch is still waiting and
watching.
INT. SHARON'S BEDROOM - MORNING
She is still in bed, under the sheet. Someone begins
KNOCKING on her door and she sits up, bleary and
frustrated.
SHARON
Damn it!
She stumbles out of the bedroom to her door.
SHARON
What?! Who?!
CATCH (O.S.)
It's me.
SHARON
Oh, Jesus.
(CONTINUED)
46.
CONTINUED:
She opens the door. He wears a stern look. She is not
apologetic.
SHARON
I was just falling asleep.
Finally.
CATCH
We made a date.
SHARON
It wasn't a 'date.'
CATCH
Okay, an 'appointment.' I keep my
appointments.
She gives an exasperated moan and turns to stagger back
to bed. He closes the door and follows.
SHARON
I called you. I called you at
seven.
CATCH
I get up early. I walked there.
I waited there.
SHARON
Check your messages.
She heads for the bed, passing a mirror, looking at her
rumpled self and groaning at the sight. She climbs into
bed and snuggles there and puts the sheet over her head.
He is entering the bedroom. He carries a Denny's take-
out bag.
SHARON
(under the sheet)
I need more sleep. Come back in a
month.
CATCH
Come back? What makes you think
I'd come back here?
The lump under the sheet says...
SHARON
Then why are you here?
(CONTINUED)
47.
CONTINUED:
CATCH
I'm here to tell you that when you
tell someone you're going to be
somewhere then that someone
rearranges his life and you should
be more aware of that and a lot
more considerate instead of
just...
She has come out from under the sheet and is watching
him.
SHARON
What's in the bag?
CATCH
What? None of your business.
SHARON
Did you bring some coffee?
CATCH
You think you deserve coffee?
SHARON
What else did you bring? Food?
CATCH
(opening the bag)
You definitely don't deserve food.
I've got coffee, sugar, sweetener,
non-dairy...
SHARON
Just black. Black. Thanks.
She sits up. He hands her the coffee. She sips,
relishing the sip, then studies him.
SHARON
So what kind of life did you
rearrange in order to get to
Denny's? You never said one word
about yourself last night. What
d'you do?
CATCH
What's the difference?
SHARON
What's the difference?! You're
standing in my bedroom. That's
the difference. Who are you?
(CONTINUED)
48.
CONTINUED:
CATCH
Somebody who keeps appointments.
SHARON
You're ducking. Don't duck.
(then a thought)
Oh, shit -- you're married, right?
Convinced -- she picks up one of the throw pillows from
the bed and tosses it at him.
CATCH
I'm not.
SHARON
I don't believe you.
CATCH
You don't believe me? Give me
back the coffee.
SHARON
No.
CATCH
Give me the coffee.
She hands him the coffee. He hits her with the pillow
and hands her back the coffee. He has made her smile,
but she continues, half teasing now.
SHARON
Oh, God. Oh, wait -- you're
involved in some criminal
activity, aren't you? Great --
That's all I need.
CATCH
My name is Catch Lambert. I don't
work. I don't commit any crimes.
I like being with you. We can
start from here -- from now.
SHARON
Bullshit. I'm... I let you in
here. I'm not going to be some
fool. I need the details.
CATCH
And I need to start from here.
SHARON
That's ridiculous. Why?
(CONTINUED)
49.
CONTINUED:
CATCH
That's the way it is.
SHARON
Oh. Your rules.
CATCH
My rules.
SHARON
Jesus. Okay. Fine. I don't
really want to know you anyway.
Goodbye.
He is conflicted -- but he won't relent. He walks to the
door. She stares, waiting. But he never turns around.
He walks out. She is mystified, exasperated. She hears
her FRONT DOOR CLOSE. She puts the coffee on her bed
table -- and finds herself staring at that damn rose.
She suddenly gets up and begins to dress hurriedly --
with a plan.
EXT. BOULEVARD - DAY
Sharon is driving, speeding a bit, getting to Catch's
building ahead of him.
EXT. CATCH'S BUILDING - DAY
He approaches his apartment building, unlocks the front
door, walks in the entrance area. Now we see, across the
street, Sharon exit her car and follow him.
EXT. BUILDING - DAY
The front door has locked automatically. Outside there
is a panel of buzzers and apartment numbers. Sharon hits
all the buttons. Somebody BUZZES her in.
INT. LOBBY - DAY
Sharon enters, looks at the elevators. It's not moving.
She goes to the stairs, listens, hears him TRUDGING UP
the stairway. She follows silently.
INT. HALLWAY - DAY
As Catch reaches his apartment door, unlocks it, opens it
and walks in.
50.
INT. CATCH'S APARTMENT - DAY
Before he can close the DOOR behind him, it BANGS open
wider, startling him -- and Sharon is in the doorway,
staring hard at him.
SHARON
(sarcastic)
Can I come in?
She walks in and closes the door and starts looking
around as he says...
CATCH
Yeah. Sure. Come in.
Despite his recent "decorating" the apartment is still
nearly empty. No books, magazines, photographs, no
clutter of life. She glances into the equally sterile
kitchen.
SHARON
You live here? Nobody lives here.
This place is some kind of front,
a scam, a drop -- or what?
CATCH
This is what you told me about --
right?
SHARON
What?
CATCH
Your interrogation. Do I need a
lawyer?
He has made her look at herself, and take a breath.
SHARON
I just don't want to be jerked
around.
CATCH
I'm not.
SHARON
Then tell me straight out. Who
are you?
He is silent, and she starts to leave. Moment of truth.
CATCH
What is it you're looking for?
(CONTINUED)
51.
CONTINUED:
SHARON
Your life. I don't want any
surprises.
CATCH
This is it. I sleep here. I walk
around town. That's all of it.
SHARON
That's all of it?
CATCH
Yeah. Except for you -- the way I
feel about you.
SHARON
Which is?
CATCH
Surprising. I thought it was
impossible. I thought I was...
SHARON
You thought you were what? Gay?
CATCH
Dead. In a way.
SHARON
I'm supposed to understand that?
CATCH
No. Did you ever wonder what
'scratch' meant, when people say,
'we'll start from scratch'? This
is scratch. We can start from
here.
She looks at him, looks at his empty place, his non-life,
and back at him again.
SHARON
I don't know. I just don't know.
She breaks off the stare and heads for the door. He
watches her go.
EXT. UPSCALE NEIGHBORHOOD - DAY (SAME DAY)
As Catch charges up the stairs to the wide porch of Mrs.
Chu's well-kept home, carrying a grocery bag, head full
of his thoughts.
52.
INT. MRS. CHU'S HOME - DAY
As Catch enters. She is watching TV. He does glance
into the living room briefly to throw her a quick hello
smile, before moving to the kitchen. She SNAPS OFF the
TV and begins turning the photos face down as she sends
her voice to the kitchen.
ELANORA
I remember that. That was a
smile.
INT. KITCHEN - DAY
He is putting groceries away as she rolls into the room.
He doesn't look at her, tries to be casual, but his
thoughts are bubbling out.
CATCH
You know the cop -- the woman cop?
She... visited me.
Mrs. Chu registers surprise at this, but keeps it covered
and casual.
ELANORA
Oh? Where did she sit?
CATCH
I have a chair now.
ELANORA
You're... seeing her?
He darkens a bit as he works.
CATCH
She has a lot of questions. She
wants to know everything.
ELANORA
Of course she does. Everybody
does.
CATCH
We could start from today. What's
so wrong with that?
ELANORA
Tell her.
The can in Catch's hand bangs on the cupboard, and he
stops, suddenly uptight.
(CONTINUED)
53.
CONTINUED:
CATCH
Tell her what?
Mrs. Chu comes closer.
ELANORA
Tell her, Catch. Tell somebody.
It's been almost two years.
CATCH
(a warning)
Nora...
ELANORA
Every time I tell somebody, it
gets a little bit easier. I'm not
saying it goes...
His next warning is tough and absolute.
CATCH
Nora!
She is silenced. The moment hangs. She rolls her chair
to him, takes a box of cookies out of his hand, opens the
box and eats one, defusing the moment.
ELANORA
She nice?
He starts to work again.
CATCH
She's tough.
ELANORA
She pretty?
CATCH
That doesn't matter.
ELANORA
(smiles)
She is pretty.
CATCH
She's sort of pissed-off at me.
ELANORA
Apologize.
CATCH
For what?
(CONTINUED)
54.
CONTINUED:
ELANORA
It doesn't matter. We like it
when men apologize.
He stares at her a while.
CATCH
I'm sorry I yelled at you.
She smiles and hands him the box.
ELANORA
Have a cookie. See?
INT. POLICE REPORT ROOM - NIGHT
Sharon is typing at the computer, dark and dogged in her
work. Lieutenant Sanderman is watching her through the
glass wall of the watch commander's office. He comes out
of the office and moves to where Sharon is typing.
SANDERMAN
Sharon...
SHARON
(typing)
Lieutenant...
We can see the computer screen now. Sharon is searching
for any prior record of "Catch Lambert" -- arrests,
convictions. She has several "Carl Lamberts" on the
screen, even a "Casper," no Catch.
SANDERMAN
Anything bothering you?
SHARON
Why? What'd I do?
SANDERMAN
Nothing. I'm talking about your
general attitude lately.
Sharon stops typing. She can find nothing. She clears
the screen, sighs.
SHARON
My attitude's fine. End of a long
day. I'm tired.
SANDERMAN
Family matters getting to you?
(CONTINUED)
55.
CONTINUED:
SHARON
Family?!
SANDERMAN
Your brother, Larry...
SHARON
What about Larry?
SANDERMAN
You know Nester -- on the Culver
City P.D.? He went out on a
violent domestic dispute
yesterday. A neighbor called it
in. It got a little ugly. No
arrest -- a warning.
This hits her hard.
SHARON
Larry. Oh Christ.
SANDERMAN
Nester said it's not the first
time.
Sharon is quiet a while, taking it in, shaken by it.
SHARON
Thanks for telling me.
EXT. RESIDENTIAL STREET (CULVER CITY) - DAY (NEXT MORNING)
Sharon, not in uniform, is approaching Larry's house. It
has a small yard with kids' toys strewn about and a tire-
swing. She walks up on the porch and RINGS the DOORBELL.
She hears VOICES inside, LARRY AND KATHY, a quick
murmuring, low-voice argument, can't make out the words.
In a moment, Larry opens the door.
LARRY
Jesus, you're up early.
SHARON
I wanted to catch you before you
went to work.
LARRY
I thought you were on late shifts.
SHARON
I don't sleep much. Can I come
in?
56.
INT. LARRY'S HOME - LIVING ROOM - DAY
The place is messy. A TV can be heard -- CARTOONS.
LARRY
What's up?
SHARON
Where's Kath?
LARRY
She's busy with Larry Jr. right
now.
Sharon nods, but then walks past him.
INT. CHILD'S ROOM - DAY
As Sharon walks into this toy-strewn room. Larry Jr. is
sitting on the floor, watching a small TV. Kathy is not
with him. Sharon kneels beside the boy a moment.
SHARON
Hey, Champ.
But he stays focused on the TV, some darkness, some
unsayable worry in his eyes. She picks up a toy car,
speaks softly.
SHARON
Y'know, they call this one a woody
'cause it has wood on the sides.
LARRY JR.
I know.
Now he looks at her with sad and bottomless eyes. She is
hurting for him. Larry is now in the doorway. Sharon
kisses the child's head and walks out, passing her
brother.
LARRY
Why'd you come by?
SHARON
To see Kathy.
INT. HALLWAY
As Sharon heads for the master bedroom, Larry takes her
arm.
LARRY
She's not feeling good.
(CONTINUED)
57.
CONTINUED:
Sharon pulls away from her brother.
SHARON
I'll just say hello.
INT. BEDROOM - DAY
Sharon walks in. Kathy is sitting on the bed, her face
badly bruised. They stare. Kathy speaks quietly, her
eyes filling.
KATHY
Don't make it worse.
SHARON
It gets worse?
KATHY
He's okay now. He's torn up about
it. Don't make him mad.
Sharon moves closer. She reaches out, touches Kathy with
a comforting touch as the woman turns her bruised face
away.
SHARON
When Larry and I were growing up,
our mother said that all the time.
'Don't make your father mad.'
(pause)
Has he hit Larry Jr. yet?
KATHY
He never would.
SHARON
Oh. Just you, huh?
Larry is in the doorway now, angry.
LARRY
What d'you think you're doing in
my house, Shar? In my home.
She walks out of the room and he follows her.
INT. LIVING ROOM - DAY
She turns on him.
SHARON
You see a pattern here, bro?
(CONTINUED)
58.
CONTINUED:
LARRY
I lost my temper. Things got out
of hand. It won't...
SHARON
People always say that: 'I've got
a temper.' Like it's an excuse.
LARRY
I don't need a goddamn lecture.
She comes very close to him.
SHARON
You want to hit someone? Next
time your 'temper' flares up, Lar,
and you just have to hit somebody,
you go home and hit your father.
LARRY
You blame everything on him.
SHARON
I'm blaming you, you fucking
coward.
He grabs her shirt hard.
LARRY
You don't come in here...
He pushes her into the wall.
LARRY
You don't come in here and call me
names.
SHARON
What do you call a man who uses
his wife as a punching bag?
(pause)
Coward.
He swings a slap at her. She blocks it and punches him
hard in the face, and he crashes down on the floor.
Kathy comes running, calling out...
KATHY
Don't hurt her, Lar...!
(CONTINUED)
59.
CONTINUED:
Kathy sees that it's Larry on his ass. The little boy
comes out of his room. There is a surprised moment.
Then Kathy picks up the child and takes him back to his
room. Larry is sitting up, shaken, his nose bleeding.
Sharon goes close to him, rigid with fury.
SHARON
I know how it feels, 'cause I
remember. I remember standing
between you and Dad and taking the
blows for you -- and for what?!
You turned out to be just like
him, you bastard.
(pause)
And so did I.
And she leaves the house and SLAMS the DOOR.
INT. SHARON'S APARTMENT - NIGHT
She is just returning home after her shift, very tired,
drained. She absently turns ON the TV, the STEREO. She
notices a blinking light on her MESSAGE MACHINE and hits
the button.
LARRY (V.O.)
I bet you feel real proud of
yourself, Shar, knocking me down
in front of my family. You know
what I've got in my hand? I've
got a Polaroid picture of my
busted-up face, and I'm thinking
of sending it to your department,
to your lieutenant. I'm going to
turn you in to the police, Shar,
and see how you like it.
The message ends. She stands there a moment.
SHARON
(quietly)
Oh, God. Oh, shit.
She sits on the edge of a chair, worried, deep in her
thoughts, hitting bottom -- the darkness engulfing her.
In a moment, she looks at her desk, walks there, opens a
drawer, pulls out that piece of tape with Catch's number
on it -- but it is all stuck to itself. She hesitates,
then starts to pick it apart when a KNOCK at the door
makes her jump. She wonders, then, somehow, she knows.
She walks to the door.
(CONTINUED)
60.
CONTINUED:
SHARON
It's you, right?
She unlocks and opens the door, stares at Catch, very
vulnerable, on the very edge, her pain and fear over
Larry just under the surface. Catch holds a box of
cookies as an offering.
SHARON
Can you just shut up? Just shut
up and listen.
CATCH
I didn't say anything.
SHARON
I don't want to talk. I don't
care if you have to play some game
and pretend you're a... 'angel of
mercy' or... whatever. I don't
care, but I don't want to hear
about it. All right? I don't
want to hear anything.
She steps back, allowing him in, and closes the door and
turns to him.
SHARON
It's a bad night.
He sees her pain and puts his arms around her, pushes
through his fear and holds her -- and she lays her head
on his chest. He embraces her fully, and the effect on
him goes deep, to his core, where there is both pain and
longing, but he holds on to her, even rocks her a bit.
She sighs. In a moment...
SHARON
This is good... but I'm too tired
to stand up anymore.
He walks her to the couch and has her sit, and then
slowly, gently, he "disarms" her. He lifts her leg,
takes the ankle holster and gun off, puts it on the
table. He turns her, takes the cuffs off her belt from
the middle of her back. He reaches into her pants pocket
and removes the Mace. From her shirt pocket he takes her
I.D. shield. He has her lie down on the couch now, their
faces close, eyes locked. They linger...
SHARON
You want to kiss me?
(CONTINUED)
61.
CONTINUED:
He looks a little lost, but he nods, helpless. He comes
toward her lips -- finally -- but just before they touch,
she says, softly...
SHARON
Kiss me someplace I've never been
kissed.
He's not sure what to do. He begins to look her over --
as if hunting, and she gets a soft smile. He starts
slowly toward her ear -- but she shakes her head. Her
shirt is out of her belt and her midriff bare, and he
starts to move there, but checks her with a look. She
shakes her head. He hunts. Her smile deepens a bit. He
takes her hand and turns it over, going for the soft
flesh on the underside of her forearm, and she closes her
eyes. He kisses her there softly, and then again, and
then he lavishes kisses from her wrist to the underside
of her elbow as she sighs with pleasure and draws up her
knees in a kind of sensual glow that is leading them
to... No. He stops. She looks at him, a deep look, soft
voice.
SHARON
Why do you stop? You always stop.
She has a glimpse of his mystery, the old sorrow, the
deep pain. He hugs her drawn-up knees, closing his eyes
a moment. Then he sits on the couch, puts a pillow on
his lap and raises her slightly, lays her head on the
pillow. He strokes her hair, her scalp as she closes her
eyes and sighs, slowly moving toward sleep. Our TRUMPET
MUSIC slides in here, lush and dreamy as we linger a
while, and then --
SLOW DISSOLVE TO:
INT. SHARON'S APARTMENT - MORNING
Just after dawn. Catch has slept on the couch. He is
beginning to awaken now as the first light strikes the
windows. The dreamy TRUMPET FADES OUT. Catch's eyes
clear, sleep replaced by thought, and he is suddenly
shaken by --
FLASHBACK - CATCH'S POV
-- a sliver of memory. But in this one, he is driving.
We see his hands on the wheel. Then his POV looks to the
side and we see an Asian-American woman seated beside
him, attractive, about his age. Her name is Annie. She
is saying something to him. We don't hear the words.
When the FLASHBACK ENDS --
62.
BACK TO SCENE (PRESENT)
Catch sits up on the couch, jolted. He gets another
sudden --
FLASHBACK - HEADLIGHTS
glaring through his windshield, blinding him. He gasps,
sitting there on the couch, but it's all over. He
stands, rattled, and he moves toward Sharon's bedroom.
INT. BEDROOM - MORNING
Sharon is peacefully asleep. He stands over her with
troubled eyes, but this slowly changes to a loving look.
He bends close to her face. He feels her breath on him.
He wants to lie down with her -- but he raises a hand and
very gently brushes her cheek. She stirs. He does it
again. She sighs a peaceful sigh, opens her eyes. He
smiles at her.
CATCH
New day.
EXT. BOULEVARD - DAY
Sharon is driving Catch home. They are now on a main
boulevard of stores, office buildings. They stop at a
light. Both are surprised by a voice calling out from
the pedestrians crossing the street.
PINDELLA (O.S.)
Catch?
They look up to see a well-dressed man pausing in the
middle of the crosswalk to face their car. He is in his
forties, tall, with grey-blond hair. This is RICHARD
PINDELLA. He has a small smile and wave for Catch.
Sharon is curious, looking at Catch. Catch throws the
man a dark look and then turns away, ignoring him,
nervous, intense.
PINDELLA
Catch?
CATCH
(to Sharon)
Drive, will you?
Pindella is moving toward the car, Sharon watching him,
wondering.
(CONTINUED)
63.
CONTINUED:
CATCH
Drive!
The light changes. Pindella hurries to the curb as the
cars surge forward. Sharon drives slowly, checking the
mirror to see Pindella stare after them -- then enter the
office building on the corner.
CATCH
Will you get off this street?
She makes a turn, glancing at Catch.
SHARON
What? You owe him money?
But his dark look persists, and he doesn't answer.
Then...
CATCH
If you take a right and stop -- we
can walk from here. I'd rather
walk.
He is nervous, being in the car -- and glad to leave it
when she pulls over. She watches this, wondering.
EXT. NEIGHBORHOOD - DAY
Sharon exits the car and locks it, staring at Catch.
SHARON
If you're in trouble...
CATCH
I'm not.
SHARON
If you're in trouble with him,
maybe I can help.
CATCH
Forget about him. Somebody I used
to know. I don't want to know him
anymore. That's all. Forget
about it. Walk with me.
She hesitates, then falls in beside him as he walks on.
They walk along in silence, the neighborhood growing more
seedy, tougher as they go. Catch is relaxing now, trying
to push it all away. Sharon looks around her.
(CONTINUED)
64.
CONTINUED:
SHARON
This is not a great place to walk.
CATCH
I like it here. It's fine.
SHARON
I work here. It's not fine.
CATCH
What's the problem?
SHARON
Besides the shootings, break-ins,
rapes, cart thefts? We've got a
loose dog raiding garbage cans,
knocking 'em over. Can't catch
him. Got somebody blowing a
trumpet between midnight and
three. Can't find him.
As someone approaches them, Catch makes eye contact and
smiles a small, friendly smile-in-passing. He gets a
brief smile in return. He and Sharon amble on. He does
it again.
SHARON
You know everybody here?
He nods to another YOUNG MAN he's never met...
CATCH
How's it goin'?
YOUNG MAN
Goin' uphill, man.
Catch and Sharon smile.
CATCH
(to Sharon)
You try it.
SHARON
Try what?
CATCH
Go ahead. We need this.
Everybody.
She has misgivings. A young woman is bustling along.
Sharon makes eye contact and presents a nervous smile and
a nod -- but the woman looks at her sternly and bustles
on.
(CONTINUED)
65.
CONTINUED:
SHARON
I feel like a jerk. I feel like a
smiley face.
Catch smiles, Sharon frowns, but when an OLD MAN passes,
she gives a small smile. The Man lights up.
OLD MAN
Mornin'.
Catch looks at her. She tries to shrug it off, but can't
quite hide her pleasure. Now Catch is pausing as a woman
is walking her six-year-old daughter to their parked car.
Catch makes eye contact with the girl and does a goofy
wave that makes her smile. Sharon smiles, too. As the
girl's MOTHER is unlocking the car, the girl shyly looks
back at Catch for more fun. He does that quick finger
trick -- trying to catch his own thumb, and the girl
giggles But the Mother is impatient.
MOM
Go on.
The girl gets in. The Mother is about to close the door.
She frowns, mean-eyed.
MOM
Move your arm!
The girl slides in further, and the Mother slams the
door. The girl follows her mother with hurt eyes as she
walks around to the driver's side. Catch has paused to
watch this, his eyes gentle on the girl. The Mother is
about to enter the car when she sees Catch staring.
MOM
What are you staring at?
CATCH
She feels bad 'cause you yelled at
her.
MOM
What?! Who the hell do you think
you are?
Sharon is uncomfortable. Catch persists, never flinching
at the woman's anger.
CATCH
She just needs you to smile at
her.
(CONTINUED)
66.
CONTINUED:
MOM
It's none of your business!
CATCH
Why not smile at her? What's it
cost?
MOM
Who the hell are you to talk to
me?!
Catch's anger is like flint in his eyes. It surprises
Sharon. She's upset by this.
CATCH
You're so damn impatient.
WOMAN
Get away from me!
CATCH
You're so busy being pissed off,
and time is going by.
WOMAN
What?!
CATCH
It's not her fault.
The Woman gets into the car and slams the door.
WOMAN
I'm calling the police!
CATCH
No. I'm calling the police.
(turns to Sharon)
Hey -- police.
The Woman speeds her car away. Sharon gets in Catch's
face.
SHARON
Jesus Christ, Catch.
CATCH
Maybe she'll think about it now.
(CONTINUED)
67.
CONTINUED:
SHARON
You had no right to do that. God!
You think you know everything?!
Who the hell are you, some expert
on raising kids?! The
neighborhood angel?! Jesus!
CATCH
No. No, I just... some people are
walking around blind...
SHARON
That's not your problem!
CATCH
Don't tell me what my problem is!
SHARON
Okay, fine -- you tell me what it
is!
CATCH
Maybe it's not my problem. Maybe
it's your problem. Maybe you're
going around blind.
SHARON
Blind to what?!
CATCH
Blind to what's going on around
you. Blind to what people need.
We're supposed to take care of
each other. We're supposed to
keep each other safe. That's the
way it should be -- if you're not
going around blind, like that
woman...
SHARON
Or like me, right? What about
you? How come you can see?
That stops him, the darkness rising. He looks about,
trying to contain it.
CATCH
I think I'll... walk the rest of
the way on my own.
SHARON
Yeah. Fine.
(CONTINUED)
68.
CONTINUED:
CATCH
I'll call you later -- about the
hiking.
SHARON
I'll be out.
She turns and walks away. He is still angry, but sorry
to see her go.
CATCH
Shar... wait. Hey!
But she keeps walking, and he watches her walk away.
Then he walks on, upset, mad at himself, trying to pound
through it, walking quickly. He is passing an alley,
when he hears a CRASH. He looks in...
EXT. ALLEY - DAY
He sees a large dog that has just knocked over a garbage
can. He and the dog stare. Catch walks into the alley,
approaches the big dog, squats down to look the animal in
the eye, and begins petting it. The big mutt is now
leaning into the petting, and Catch's eyes go deep -- and
slowly find their way to a sad smile.
EXT. CITY STREETS - DAY
Sharon and Robby are patrolling in their unit. Robby is
driving. Sharon is watching out the window with a deep-
eyed look, a bit down because of her argument with Catch.
She is staring as she rolls along.
SHARON'S POV
She is watching the people on the street, NOTICING, for
once, just how isolated they are, each in a box, passing
without connecting.
ON SHARON
watching.
INT. CATCH'S APARTMENT - LATER THAT DAY
We've never seen the apartment flooded by sunlight like
this, all blinds open.
(CONTINUED)
69.
CONTINUED:
We START in the kitchen, staring at the drawer that is
now so loaded with toys, it won't shut. Some brightly-
painted soldiers are sticking out of the drawer.
In the living room there are two chairs now, and more
lamps and tables. Our PAN REVEALS that the dog from the
alley is sitting in the living room, watching Catch --
whom we now see is hanging a picture on the wall -- a
mountain scene. He holds the picture in one place, then
moves it to another, wondering. His fight with Sharon
still colors his mood, but he's working through it.
CATCH
Do we go for... symmetry? Or...
more off-center. Japanese.
He glances at the dog as he moves the picture.
CATCH
Are you into this? Bob?
The dog watches him.
EXT. LARRY'S HOUSE - EVENING
It is early evening of the same day, and Sharon is just
off shift, out of uniform in her own car, parking on
Larry's street and walking to the door. She knocks --
and takes a step back. Larry opens the door, already
angry, his nose bandaged, eyes blackened a bit from the
blow.
LARRY
I don't want you around here.
SHARON
Let's go talk in the yard.
They stare. She starts walking back into his darkening
front yard, looking over her shoulder. She walks to a
tree where the tire swing hangs, waits there. He goes
back inside, but leaves the door open. In a moment he
reappears, coming outside, closing the door behind him.
ON SHARON AND LARRY
As they meet by the tire swing. His eyes burn her, hate
and pain.
SHARON
You took a swing at me.
(CONTINUED)
70.
CONTINUED:
LARRY
You asked for it -- calling me a
coward. You knew I'd swing. You
think I look bad now? Look at
this.
He has a Polaroid photo in his hand, holds it in front of
her, dried blood and bad bruising on his face.
LARRY
Nice, huh? Beautiful. The
cops'll love this, right?
Evidence. Don't you guys love
evidence?
He puts it in his pocket, and they stare a moment more.
LARRY
You wanted me to swing.
She looks away. She nods, speaks softly.
SHARON
I'm sorry I hit you so hard.
LARRY
But you're not sorry you hit me.
SHARON
Jesus, Larry, what about Kathy's
face?!
LARRY
That's not your business! Nobody
called you, right? She didn't ask
for you to come here. This is my
family. You don't get it, 'cause
you've got no family. Nobody. So
you try to run everybody else's
life. Jesus Christ -- get your
own life. That's the goddam
problem. Get your own goddamn
life.
Their stare holds, but she is giving way.
SHARON
Okay. I'm sorry I came here. I'm
sorry I hit you. Okay?
LARRY
Okay what?
This is very hard for her.
(CONTINUED)
71.
CONTINUED:
SHARON
Don't go to my department, all
right?
LARRY
Why the hell not?
SHARON
Larry...
LARRY
Why not?!
SHARON
Because the job's all I got.
LARRY
That's what I said, right? No
life.
She nods, her voice smaller, almost a whisper.
SHARON
That's what you said.
He makes her wait, thinking it over.
LARRY
And you won't come around here.
You won't call. Ever.
In a moment Sharon n